Electronics & Music Maker - Oct 1983 America

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Speaker manufacturers, perhaps in response to the end of the home stereo system boom, are moving into professional sound. The 12-year-old MTX company, which had focused on home and automotive systems, introduced its Pro Line series — a set of six technically advanced drivers in 12 and 15 inch diameters — this past summer. They feature the company's exclusive process of voice coil winding which incorporates heavy gauge copper wire wound around a high-temp aluminium wire core to increase efficiency and power handling capacity. With mounting depths ranging from 4⅞ inches to 6¼ inches, MTX also supplies Thiele-Small parameters for installation in all six Pro Line drivers.

The 100 watt expanded range MTX PY-12 and PY-15 feature polypropylene cones for increased power handling, clean, detailed sound reproduction and have sensitivity ratings of 95.5dB and 97dB, respectively, at a 1 metre 1 watt input with an on-axis bandwidth of 25-1400 Hz.

The 150 watt MTX PL-12 and PL-15 feature moulded black paper cones with plastiseal surrounds. Sensitivity for both is rated at 98 dB and on-axis bandwidth is 35-2700 Hz.

Each MTX loudspeaker has a DC resistance of 6 ohms and a nominal impedance of 8 ohms. The suggested list prices for the six range from $69.50 to $79.50.

Modular Sound Systems, which introduced its Bag End loudspeakers in 1976, has introduced its new bi-amped AF-1 loudspeaker series which employs a three-way system with single proprietary 12 and 18 inch isolated drivers and a constant-directivity horn/tweeter. Passively crossed over at 3500 Hz and electronically crossed at a recommended 125 Hz, the AF-1s, said Modular's president, Jim Wischmeyer, were originally developed to complete a custom-ordered sound reinforcement package for the United States Air Force.

The AF-1s are offered in a choice of vertical or horizontal cabinets with either a rugged textured-black paint or a rich dark brown walnut stain on a choice of imported birch or domestic plywood. The units measure 22¾" high x 37½" wide x 24" deep. Two road versions, which include castor covers, stand 32 inches high and are equipped with four handles on each side, one for carrying and the other set for stacking. Prices range from $980 to $1,360.

Bag End's TA-12 speakers with time offset correction.

Time offset correction is incorporated into Bag End's new TA-12 to ensure that sound from both drivers reaches the listener's ears at exactly the same time. The two-way system has capabilities of up to 300 watts continuous programme; sensitivity of 103 dB SPL, 1 watt, 1 metre; a nominal impedance of 8 ohms, and frequency responses of +/-3dB, 125 Hz to 17 kHz and +/-6dB, 70 Hz to 19 kHz.

The drivers are a proprietary Bag End 12 inch loudspeaker with a rear-vented 80 ounce magnet assembly and a constant directivity-type horn/tweeter that reproduces frequencies above 3.5 kHz and is protected by a specially designed passive limiter which prevents component failure by dissipating excess energy rather than by switching the unit off.

Offered in either floor monitor or rectangular configurations, the TA-12 cabinets are constructed of either domestic or birch plywood with interlocking joints and birch baffles for strength and durability.

Bag End's new Studio Rack Model A.

Modular Sound Systems has also expanded Bag End's product lines with the introduction of its Studio Rack Model A which contains 12 vertical rack spaces, two diagonally positioned spaces and four spaces in the lower body that allow equipment to point straight up at the user.

Measuring 38 inches tall by 20½ inches wide, the Studio Rack Model A is 29¼ inches at its deepest point. It comes with castors, a removable vented back for easy access to inner connections, an opening for wires to pass through and a storage area that accommodates extra jacks, cable and other necessary items. Construction is of either oiled birch veneer or a plastic laminated material. The Bag End Studio Rack can also be ordered in custom-made versions to fit virtually any application.

JBL's MI Series monitor and cabinet.

JBL has also expanded its speaker lines with six new models. The three new MI Series loudspeakers in 10 inch, 12 inch and 15 inch configurations, appropriately identified as MI10, MI12 and MI15, are designed for use with guitars, electric pianos, organs and synthesizers or with PA systems. They are designed to deliver a cooler, more even response in contrast with the hot sound of JBL's E Series musical instrument speakers. Priced from $87 to $99, they have a 150 watt power capacity, sensitivities of 98 dB SPL, 100 dB SPL and 102 dB SPL, with frequency ranges of 70-8000 Hz, 60-7000 Hz and 50-6000 Hz. All three models also feature die-cast frames, precision-wound flat ribbon voice coils and JBL's Symmetrical Field Geometry magnetic structures.

JBL has also introduced two PA systems utilising components from its new MI Series — the MI 631 Stage Monitor and the MI 632 Compact Sound Reinforcement System. The MI 631 incorporates an MI Series 12 inch loudspeaker and a flat-front, bi-radial horn and provides a frequency response of 50 Hz to 15 kHz and high directivity.

The MI 632, which was engineered for optimum playback in small to moderate sized rooms, has an MI Series 15 inch extended range driver and a flat-front, bi-radial horn, providing uniform on/off axis frequency response in the horizontal plane from 630 Hz to 16 kHz. A directional baffle increases directivity for greater midrange punch, while low frequency venting extends bass response and lowers distortion. Suggested list prices are $399 for the MI 631 and $498 for the MI 632.

JBL's new Cabaret Series model 4628, a self-contained three-way cone-midrange system, was designed for a variety of sound reinforcement and keyboard instrument applications, such as organs, pianos and synthesizers. According to JBL, the 4628 is an ideal portable system for touring musicians and also excellent for fixed installations in lounges and restaurants. It incorporates an improved E145 15 inch long throw, low distortion woofer, a 2118H eight-inch midrange driver and a 2404H bi-radial constant coverage tweeter. Response is a flat 3 kHz to 21.5 kHz and the dispersion pattern is a tight 100 degrees by 100 degrees. Suggested list price is $750 and a flush-fitting cover and polycarbonate cover guards are available at $48 for added protection.

A relatively, new company, Rane Corporation, that now has some seven audio products in its catalogue, will begin international distribution in early 1984, according to Larry Winter, vice president of marketing.

At this year's National Association of Music Merchants show, Rane introduced three new products — the MM 12 monitor mixer, the MA 6 six-channel amplifier and the GE 27 state variable third octave graphic equaliser.

The MA 6 six-channel amplifier can be used as a monitor mix amplifier, stereo biamplifier or triamplifier, zone amplifier or for other applications. Each channel delivers 100 watts RMS into 8 ohms, 150 watts RMS into 4 ohms, all channels driven. Built-in automatic bridging yields 300 watts RMS into 8 ohms from each pair of channels, while built-in limiters provide an additional 15 dB headroom before clipping for driver protection and a 4 dB increase in continuous SPL. The MA 6 also features a cooling fan, auto balanced/unbalanced inputs, out-relays, electronic V-I protection and a 3.3 kilowatt power supply. The suggested list price is $1,199.

Rane GE27 graphic equaliser.

Rane's GE 27 graphic equaliser employs special state variable filters to maintain a constant, well-defined third octave bandwidth at all slider positions to cut filter overlap, adjacent band interaction and overall loss of resolution. The GE 27's state variable filters provide 12dB of boost and boost and 15 dB cut on 27 ISO frequencies which, says Winter, allow more effective feedback control with minimal effect on sound quality, reduced interaction between adjacent bands and substantially increased overall precision and resolution. The GE 27 has a suggested list price of $449. Rane's previous products include the HC 6 Headphone Console and the RE 27 Realtime Equaliser.

Effects

New effects devices have been introduced here by Morley, EXR and Unicord.

Morley Slimline Distortion Wah.

Morley's new Slimline Distortion Wah Pedal offers distortion, wah, volume and wah-distortion combined. Two LEDs indicate which effects are in use. Distortion ranges from a very subtle effect with the heel down to full distortion with the toe down. Additionally, a separate treble and bass distortion boost provides an extra punch for shattering hard rock sustain or an easy, mellow overdrive. Separate wah and distortion output level controls permit signal balancing.

The new EXR Projector Model SPIN, which is being billed as "the world's first psychoacoustic footpedal," provides three functions. First, with the psychoacoustic processor, the instrument will be projected into the foreground without cranking up the volume or equalisation. Second, the volume pedal has a fully adjustable EXR Process Pre-Set. Third, a built-in full-frequency direct box has a continuously variable input/output of up to 40 dB gain and XLR connector output. All three functions can be visually monitored at a glance by means of a 12 segment, three colour bar graph and four function LEDs. Suggested retail price for the SPIII is $299.

Korg PME 40X pedalboard.

Unicord has introduced the Korg Professional Modular Effects 40X, a pedalboard that incorporates four effects processors of the user's choice. Modules available include Stereo Chorus, Stereo Flanger, Compressor, Graphic Equaliser, Overdrive and External Selector. An on/off switching system completely bypasses any effect or bypasses the entire system to prevent loading, improve frequency response and provide an overall punchier sound when the effects are in the 'on' or 'off' positions. The dynamic range, frequency response and low distortion of the PME 40X, according to Unicord, make it highly suitable for use with keyboards and guitars in both live performance and recording applications.

Oberheim has followed on the heels of E-mu, introducing the DMX programmable digital drum machine, a microcomputer system programmed with digital studio recordings of drums and cymbals, including rolls, flams, odd time signatures, uneven phrases, changing tempos and off the beat.

As many as 100 sequences of any length or time signature can be recorded in real time or one note at a time, played and modified quickly. Individual drums or individual notes can be recorded, erased and then re-recorded until the drum beat is exactly right. Quantize modes will correct your rhythm to any beat between 1/4 notes and 1/48 notes and a Swing mode will give rhythms the uneven feel that is often used in jazz.

The DMX also features a built-in nine input stereo mixer and eight modular voices, each with its own output, control voltage input and external triggers so that the DMX can be controlled by sequencers, synthesizers or even a drum kit. A cassette interface enables quick changes of all of the sequences and permanent data storage and a rechargeable battery maintains power to the memory when the DMX is turned off.